In praise of pastiche An Essay by Samuel Hughes www.worksinprogress.co So: it is perfectly true that contemporary traditional architecture tends to be structurally dishonest. But traditional architecture has always tended to be structurally dishonest. So if this is what makes contemporary traditional architecture pastiche, then most traditional architecture has been pastiche since the faux timbering of the Parthenon. Contemporary traditional architects have most of the great builders of our history as their companions in guilt. architecturetraditionmaterial
Against the survival of the prettiest An Essay by Samuel Hughes www.worksinprogress.co What has emerged here is that although survivorship bias probably does contribute to that to some extent, it is not the main explanation: premodern buildings may on average have been a bit less beautiful than those that have survived, but they still seem to have been ugly far less often than recent buildings are. The survivorship theory sought to explain the apparent rise of ugliness in terms of a bias in the sample of buildings we are observing. There is another kind of bias theory, which seeks to explain it in terms of a bias in the observer, saying for instance that every generation is disposed to find recent buildings uglier than older ones, and that this is why recent buildings seem so to us. This is a complex and interesting idea, which I am not going to assess on this occasion. Suppose, though, that our eyes are to be trusted. If this is so, strange and eerie truths rise before us: that ugly buildings were once rare, that the ‘uglification of the world’ is real and that it is happening all around us. urbanismarchitecturebeauty
A state of energetic repose Read the text before designing it. Discover the outer logic of the typography in the inner logic of the text. Make the visible relationship between the text and other elements (photographs, captions, tables, diagrams, notes) a reflection of their real relationship. Give full typographic attention even to incidental details. Invite the reader into the text. Reveal the tenor and meaning of the text. Clarify the structure and the order of the text. Link the text with other existing elements. Induce a state of energetic repose, which is the ideal condition for reading. Robert Bringhurst, The Elements of Typographic Style The inner nature of material typography